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L '1 ' 1 ) English Skills I I ) B

l , for independent 1 , I Learners Jim Lawley & Ruben Chacon Beltran

CAMBRIDGE~ UNIVERSITY PRESS 1 1

i t

ACKNOWLEDGEMENTS

The authors and publishers would like to thank Nick Lawley for permission to use the story 'Where does i t hurt?" in Unit 6, and Sam Lawley for all his work on the vocabulary section.

The authors and publishers acknowledge the following sources of copyr~ght material and are grateful for the permissions granted.While every effort has been made, it has not always been possibleto identify the sources of all the marerial used, nor to trace all copyright holders. If any omissions are brought to our notice, we will be happy to include the appropriate acknowledgements on reprinting.

'Reported Missing'by Anna Gordon Keown, reproduced by kind permission ofJennifer Gosse. All rightsreser.ved. 3

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Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Unit1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Unit2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Cover design by Islagrafica

Unit9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Unit10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S5

Vocabulary 4.000 most frequently occurring English words . . . . . . . . . . . . 58

Band l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Band2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Band3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

( Appendix: Answer key and audioscripts . . . . . . . . . . . . . . 92 1

Welcome to English Skills for Independent Learners (82). This book has been specially written for students at the

Universidad Nac~onal de Educacidn a Disroncia, but i t is hoped that it will also prove useful to others

who want to progress from level B1 to level B2 of the Common European Framework of

Reference for Languages (CEFR).

Is i t better to study English in class or by yourself? Some people are surprised to

learn that many adult students learn more vocabulary and gramm_ar, and improve their

reading, writing, listening and even speaking skills more quickly when they study by themselves. Let's

look at each of these skills in turn and see why this is, and how this book can help you learn English on your own.

Vocabulary In the case of vocabulary, research suggests that an upper-intermediate-level speaker of English needs a vocabulary of some six to ten thousand'word families' (for example, annoy, annoymenr, annoyed and annoying are all from one family). Clearly, continuous, ambitious vocabulary learning is an essential part of language learning. Building a vocabulary of that size requires sustained personal effort and focused learning. It is possible to savea lot oftime when you study by yourself because you can concentrate on the specific words which you need to study.The research also suggests that bilingual vocabulary lists like those provided at the back of this book are an excellent initial step. Once you have learnt that, for example, pledge means promesa, you still have a lot to learn about pledge: for example, how it is pronounced and what words characteristically precede andfor follow it, as well as the different meanings i t may have. But knowing the basic form-meaning links of these high-frequency words makes i t much easier to read and listen to texts, and when you do that, you encounter the words in context and additional learning can take place naturally.

When you study vocabulary, remember that a lot of information may be forgotten soon after a learning session. So, it is a good idea to review new material shortly after the first learning session and then after gradually increasing intervals. One schedule proposes a first review five to ten minutes after rhe end of a study period, then 24 hours later, a week later, a month later, and finally six months later. In general, if, when you test yourself, you can remember the words, you should increase the amount of time before the next review; if you can't, you should decrease it.

'A little but often'is a good policy for learning vocabulary. If you can learn ten words a day, you'll leam over 3,000 a year. It is also a good idea to keep a record of the time'you spend studying vocabulary so you know how much you have done. Finally, the words and phrases you meet in your reading that you like or which express meanings that are important to you are also worrh learning -even if they are nor especially common vocabulary items.

Grammar The autonomous study of grammar is much more time-efficient.There is a saying,'only the wearer knows where the shoe pinches: which means only you know which areas you need to study most urgently, when you can progress quickly and when you need to spend longer on specific points. A grammar book that explains how meanings in your own language are expressed in English is especially valuable because, as the CEFR emphasises, rranslation is a vital skill in today's world. Grarnaticainglesaparahisponohablantes, the companion volume to this book, contains detailed advice on how best to study grammar. Its contrastive approach takes into account both areas that are especially easy and areas that are especially difficult for students whose mother tongue is Spanish.

Reading Reading is essentially an individual and private activity: people like to read and re-read at their own speed and in their own time. This book provides the independent learner with abundant practice in tackling a wide variety of text types. Each unit begins with a text We recommend that you first try to tackle the text as if you were in an exam and did not have access to a dictionary.Try to read the complete text and don't worry unduly about unfamiliar

-words. Every text contains easy phiases which provide lots of clues about the text as a whole; .what you can understand will help you with the more difficult parts. When you have done as much as you can without a dictionary, it is time to look up any words you are still unsure of. Once you fully understand the text, you will be asked to summarise i t in a specific number of words and then to compare your summary with that given in the answer section.

The CEFR discusses at some length the vital role that reprocessing of texts in such ways has in the day-to-day linguistic functioning of our societies.The ability to write succinct, accurate summaries is a critically important skill. In order to write a good summary, you should first make sure you fully understand the text. Then you need to decide which points are most important (avoid unnecessary details and don't include your own opinions). You should use your own words as far as possible rather than copying the text and be sure to stay within the word limit. Above all, compare your summaries with those given in the answer section and if possible compare your work with that of other students. Remember the old adage:'practice makes perfect:

\~qlri?ing After the reading activity in each unit there is a writing section. Writing is another activity which is best done on your own. Firstly, you will be asked to study and evaluate a sample composition. Usually, but not always, this composition will be of a very high standard. You will be invited to compare your assessment of the composition with that given in the answer section. Next, you will be asked to write on a different, but related theme.We recommend that you allow yourself no more than an hour to write the first draft of an essay of 250-300 words.

Once you have completed your first draft, you need to check what you have written very carefully. Unless you are absolutely certain that what you have written is accurate, use a

4 INTRODUCTION

dictionary to help you. It's important to find and correct your mistakes because they may cause you to fail exams. And there is a good reason why examiners penalise bad spelling, bad grammar and the inappropriate use of words: reading work full of language errors is like trying to walk barefoot across a floor strewn with broken glass - possible, but nor pleasant. So-called'small'mistakes, forexample, writing jonuory instead oflanupry, or consiston instead of consi5r of, are significant because they interrupt the process cf communication. Mistakes cause the reader to stop and question what they are reading.They find themselves thinking about what has been written incorrectly and how it ought to have been wrinen. In other words, the reader is no longer thinking about what you are saying, but how you are saying it and so communication is not as effective.

~brrecting your work We recommend that you spend up to two hours correcting each composition. Here is a self- correction procedure you may find useful: . Find all the verbs in your composition and check that they have a subject, that they are in

the correa tense, and rhat they are correctly conjugated. Find all the nouns in your composition, and check that they are not in the singular form when they should be in the plural, or vice versa. Find all the adjectives in your composition, and check rhat they are not after nouns when they should be in front of rhem.

.- Find all instances of the word rhe in your composition, and check that they are necessary. .'there are times when rhe should not be used. It may be worthlooking up the word rhat

follows the in your dictionary to check whether or not i t is used after the in the example sentences. You will find many more examples of the way a given word is used - wirh andlor without preceding the, for example - in the online British National Corpus at http:llwww.natcorp.ox.ac.uW. It is also worth studying the section in Gromarico lnglesa

.par0 Hispanohablonres devoted to uses of the definite article. Are you, for example, clear about the difference between Ilike rheporaroes and Ilikepoto~oes?

. Jind all the prepositions in your composition. Are you sure that they are correct? If you . have any doubts, check in your dictionary. Rather than looking up the preposition itself,

look up the word with which the is associated - the'big'word that determines which preposition is required. For example, the student who wrote:

Vollodolid is 200 kilomerres of Madrid.. . should have looked up the word kilomene in his dictionary.The example sentences given in the entryfor kilometre in the dictionary would have enabled him to correct his sentence to:

Vollodolid is 200 kilomerres from Madrid .. . . Indeed, if you want to avoid mistakes and improve your language learning, you would be

well advised to look up as many words as possible in your dictionary - not'linle'words like of, rhe, and, in and or, which don't have much independent meaning, but'big'words like kilometres, inreresred, evidence, prevent, etc.The dictionary will show which linle words are appropriate (for example, we say inreresredin not inreresred at). Also, check that the word means what you think it means; this will help you avoid mistakes with false friends.

f Look, for example, at this sentence wrinen by the same student: You con go everywhere by foor. If this student had looked up foor in the dictionary, he wouldn't have found an example using by foor, which should be enough to raise suspicions. Remember, if your dictionary does not give an example of a word used in the way you have used it, that probably means you have used the word incorrectly or used an incorrect word with it. Moreover, in a good dictionary, the

( student have found an example using on foor.

If you look up words to check usage, dependant prepositions, etc. and there are no suitable examples in the dictionary, try another dictionary or search for concordances of:he word in a large corpus of contemporary English like the British National Corpus (seeabove).

Another alternative is to use a bilingual dicrionary or a thesaurus to find a more appropriate word. This is particularly so in the case of, say, adjectives, where it is not easy to determine their meaning simply by looking rhem up in an English-to-English dictionary.

!n short, you should only include words, word combinations and sentences in your compositions which you know are correct. Let's lookat rhis in even more detail. Imagine you have these phrases in your essay:

fa) . . . herrlrhy problems . . . (b) May be, they rried rhis producr . . . (C). . . ond in many occasions during the day.

If you look up the word heolrhy in a good dictionary, you will find that it is inappropriate to suggest thar problems are healthy - it would be like saying problemossonos. (The correct word is heolrh). If you check with the British National Corpus (see page 4). you will find there are no instances of healrhyproblems and 291 instances of heolrh problems.

Similarly, wirh item (b), study of the corpus will show you thar May be ... does nor start any of the S0 randomly selected sentences rhat are provided.Th~s evidence should be enough to suggest that you need to look up quizas in your bilingual dictionary, where you will discover that you should have wrinen Maybe ... .

Likewise, for item (C), if you look up the word occasions in a good dicrionary or in the British National Corpus, you will find thar the preposition that usually goes wirh it is on not in. In the Corpus, there are 159 instances of on many occasions, but none of in many occasions.

To summarise, when you check your work, look through your essay and try to make sure that what you have wrinen isin fact correct. checking virtually every word will take a long time, but you will learn a lot - which is, of course, the main objective. Use a dictionary, a thesaurus, or whatever online facilities you have access to and check every potential mistake. Ideally, you need two or three good monolingual dictionaries, a couple of bilingual dictionaries and thesauri, and also lnternet access: these are essential for the serious language learner. Think of them as tools to help you write the perfect composition.

Finally, remember that the time you spend correcting your work is extremely well spent because you are evaluating your own English - making sure rhat the phrases and expressions rhat tend to use really are correct. So in future you will be able to use rhem with much more confidence and in future you will know thar they are right and will not need to check them again.That is one reason why self-correction is the best correction.

Listanins an? s ? ~ a k i n g Afterthe writing x:iv:ty, cones:!;elis:ening/speaking section ofthe unit.The listeninglspeaking exercises which traditionally feature in language textbooks are in many ways a leftover from the days before the information technology (IT1 revolution. Until the 1990s. English lessons were often the only opportunity for many students to hear and use real English. However, satellite and cableTV, DVDs, the Internet, and new telephone services like Skype", have changed all that.

f - f

Rf 6 INTRODUCTION INTRODUCTION 7

The independent learner can find plenty of 'real world' opportunities to engage in both extensive and intensive practice. Extensive practice means, for example, long conversations with your English-speaking friends and watching English-speaking television. In the confines of a language course package, it is neither possible nor necessary to include hours o f N and radio programmes or telephone activities. However, they are all readily available elsewhere. Intensive practice means, for example, listening to five minutes of English four times (rather than to 20 minutes of English once!. DVDs also make this sort of intensive practice possible and are an excellent way of improving both listening and speaking skills, especially if you watch programmes you really like and the subtitles are a faithful transcription of what is said. Audio books are an excellent resource for the same reason.

Since there are so many opportunities to use English in today's world, the purpose of today's English textbook is clearly not to try to artificially reproduce these contexts, but rather to equip you with the skills that will allow you to take advantage of these communicative opportunities - opportunities which earlier generations never had.This bookaims to provide you with exercises and activities which help you improve your listening and speaking in readiness for testing them in the real world.

Here is an example from one of the units:

Listen to a lecture about Dr Johnson's letter to Lord Chesterfield. Try to understand as much of the lecture as possible and then write as complete and informative as possible an account of it for someone who has not heard it. Then listen again. Do you learn anything new? If so, how significant is it? Listen as many times as you like and then read the audioscript of the lecture found in the Appendix. Did you miss anphing significant? Finally, try giving the lecture yourself.

In almost all foreign language teaching, the ultimate aim is to get students to adopt and use the language items presented to them as input.The'intertextual'listening/ speaking exercise above is carefully designed to encourage you to adopt appropriate new words, phrases and structures; that is, to read them, learn them and use them by incorporating them, hopefully permanently, into your English repertoire. In short, to convert input into output

The exercises in this book have been specially designed for students working alone. You can work through them and learn from them at your own pace.

Good luck and best wishes,

Jim Lawley and Ruben Chacon

PUBLIC ANNOUNCEMENTS

CAN DOS: talk about future plans; deliver announcements on a general topic with clarity, fluency and a degree of spontaneity which causes no strain or inconvenience to the listener

LANGUAGElCULTURAL POINTS: future perfect and Future continuous; discourse markers well, so; examples of public announcements made by royalty

a READING Il , l

. 1 1 R 1 Read the story below and write a summary (60 words maximum). Then compare your summary with a) your partner's, and bl the summary found in the Appendix.

i I -D 92

Once upon a time, in a country which was ... which was ... well, which was somewhere or other, there lived a young dragon cded Spot. Now, Spot's main interest in life was Kre - fire, flames, flashes, bangs and big explosions. Not stamp collecting, bird-watching or basket-weaving like his brothers and sisters. but fire, flames, flashes, bangs and blowing things up. Especially blowing things up.

You see, every now and then. Spot used to feel his gases bubbling up inside him, and he got hot inside - very, very hot indeed with d those gases building up inside him - and he started to float gently up into the air. iUl the time, the gases were building up and building up inside him. and then suddenly with a tremendous whoosh WHOOSH. he soared up high - 1,000 or 2.000 feet up - and he rocketed and roared, and soared and roared ... and then suddenly down he swooped. WHOOSH, looped the loop, spark; and flames pouring out of his mouth, and blew something up. A telegraph pole, or a bridge perhaps, or even a house or two!

One day in early ranuary, when the sround was covered with thicksnow, Spot blew [:p two trees, three lampposts, the gonlposts at the local football pitch. Then he did a tinal loop the loop, swooped down again and BOOM ... he blew up the Hot Water Machine. The Hot Water khchiine stood at the edge of a small lake and i t heated the water for the whole city, including the King's palace.

The King w3s furious and he ordered all the people to come and lookat the Machine. 'Look at that!' he said, spluttering with rage and pointing at the blachine. Everybody

1 8 INTRODUCTION .- -

Unit 1 PUBLIC ANNOUNCEMENTS 9 4

1W3 'Children should be free to leave school at the age of 14 if they wish: Do you agree or disagree? Write an essay stating your opinion and giving your reasons (300-400 words].

Do you agree with the Labour government's decision to allow - 16-year-olds to vote?

It is difficult to avoid the suspicion that the British government's real i motivation in announcing that i t intends to give ldyear-olds thevote lies in the realisation that more of these young people will vote Labour than [ Conservative. L In view of this suspicion, i t is worth asking i f there are in fact any good reasons for :. lowering thevoting agein this way.One immediately springs to mind:a considerable , '.

number of 16- and 17-year-olds have exercised their legal entitlement to leave ri

school and start work.These young people pay taxes on their earnings and should f therefore, i t can plausibly be argued, have a say in how that money is spenc'No taxation without representation'is as good a slogan in 21"-century Britain as i t was

C

I - Thinkcarefully ofas many reasons as you can'for'and'against' the statement. . Decide if your conclusion will be'for'or'against'and structure your essay accordingly. I ~n 18Th-century America. F This age group, moreover, constitutes a section of the community with its own ? asplratlons and wornes. If polit~cal parties stood to win votes by addressing these j concerns, then clearly theywould address themwhereas, as things stand now, young ?

Q])) LISTENING 1L1 Listen to the story about a little girl called Prudence (TRACK 1). Listen once then try

to answer the questions below. (You can listen as many times as you wish after answering the questions. Don't read the story found in the Appendix until you have understood as much as possible by listening to it.) &) 92-93

people may feel that the older generations, with a different set of priorities, do not have their real interests at heart. The- frustration these young people feel at being ignored might in time give rise to unrest and dissatisfaction. On the other hand, i t is worth noting that no other country in the world allows 16-year-olds to vote in elections, and, indeed, that there has been no significant campaign by youngsters in Britain for thevote. Most 16-and 17-year- olds are at school or receiving some sort of preliminary work experience or job training; they are not fully-fledged tax-paying adults. Many, indeed, would frankly admit that they are not ready to vote; they know that they first need to see and leam more of the world. They acknowledge that, by and large, their interests

1 Why is Prudence special? 2 What does the Prince announce? 3 At the end of the story, what does Prudence announce?

.( 4 In what ways is Prudence prudent?

1L2 When you feel ready, write a summary of the story you heard (90 words maximum). Then compare your summary with a) your partner's, and b) the summary found in the Appendix. &) 93-94

9 SPEAKING 151 Prepare to tell one of the stories in this unit in your own words. Make notes as an

aide-memoire and rehearse carefully. Practise telling the story as well as you can. Tell your story to a partner.Then listen to and help your partner.

are fairly repr~sent~d by their parents, tutors, teachers and guardians, and they have !; no wish to be saddled with a responsibility for.which they are unprepared.These considerations strengthen the suspicion about Labour's real motivation for making this proposal. In short, there are good reasons for suspecting that the change in the voting law proposed by Labour was not only unnecessary and largely unwanted, but also unwise and politically unfair.

152 Imaginethat you are going to makean announcement to yourfamily or friends about a major decision you have just taken, for example, you are going to get married, or divorced, give all your money to charity, become an eco-warrior, emigrate, change yourjob,changeyour lifestyle, form a new political party, etc.Tell yourannouncement to a partner. Listen to your partner's announcement and ask follow-up questions.

PUBLICANNOUNCEMENTS 13 m 1 2 Unit l PUBLIC ANNOUNCEMENTS Unit 1

ORAL DISCOURSE: ( ADDRESSING AUDIENCES

C CAN Dos: f give a clear, prepared speech; give reasons in support of or

against a particular point of view; respond to a series of follow-up f questions with a degree of fluency and spontaneity, which poses f no strain for either the speaker or the audience f LANGUAGVCULTURAL POINTS: a time expressions; verb phrases with rake; words and expr f French origin; on-record politeness strategies; study and, of the linguistic strategies and cultural elements In the pc 1 discourse of a given speech f t

# READING f ( 2R1 One place in which people speak in public is when they are teaching or lecturing. t In this classroom scene from the novel HardTirnes by Charles Dickens, three people speak or anempt to speak in public . f Read the extractand write a summary (35 words maximum). Then compare your f summary with a) your partner's, and b) the summary found in the ~ppendix.

f 94

'... Crcilia Jupe. Let me see. What is your father?' 6 !;

'He belongs to the horse-riding, i f you please, sir.' ( $" .L'.) Mr. Gradgrind frowned, and waved off the objectionable calling with his hand. fr- 'We don't want to know anything about that, here You mustnt tell US about that, ::$ .J

here. Your father breaks horses, don't he?'' 'If you please, sir. when they can get any to break. they do break horses in the ring,

f sir.' f 'You mustn't tell us zbout the ring, here. Very well, then. Describe your father as a f horsebreaker. He doctors sick horses, I dare say?'

'Oh yes, sir.' i

1 Here the correct grammar structure would he doesn'r he instead of don't he. It's normal to find 1 V incorrect g m u instances in literature.

t 4 1 14 Unit 2 ORAL DISCOURSE: ADDRESSING AUDIENCES

'Very well. then. He is a veterinary surgeon, a farrier and horsebreaker. Give me your detinition of a horse:

(Sissy Jupe thrown' into the greatest alarm by this demand.) 'Girl number twenty unable to define a hors~!'said Mr. Gradgrind, for the general

behooiof all the little pitchers. 'Girl number twenty possessed of no facts, i n refsrence to one of the commonest of animals! Some boy's definition of a horse. Biuer, yours:

'Quadruped. Graminivorous. Forty teeth, namely twenry-four grinders, four eye- teeth. and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs, too. Hoofs hard, but requiring to be shod with iron. Age known by mark in mouth'

'Now girl number twenty' said Mr. Gradgrind. 'You know what a horse is.' 4 i& b."

Charles Dickens, Hard Times ;;;:

ect grammar strucrure here would be wns thrown not ~hrown. G. . . * , .A

:>

2W1 Another public speaker, kinder and more famous than Mr Gradgrind, was Jesus. He understood the importance of simplicity, profundity and clarity - qualities which occur par excellence in his parables. Read the essay below, make your own evaluation and compare it with the evaluation found In the Append~x. @ 94

'lesus' parables may have been interesting at the time, but they t have little relevance today.'Do you agree or not? Give your reasons.

I will start by tak~ng the extreme case of an atheist, and try to show how, even for someone who does not believe in a loving God, the parables of Jesus can be 1. helpful. 1 :

Let us assume that the atheist accepts, as almost everybody does, the need for +

morality and ethics and for the general principle of'Db unto others as you would be ,

done by'- even if it is only for the sake of making society work properly. Inevitably, we all sometimes fail to adhere to such good standards; try as we will, we behave badly and foolishly.Jesus'parable of'The prodigal son'reminds us that bad behaviour need not be irreversible: there is always time to repent and reform.That parable also ! makes clear that we should react to the failings of others in the way that the father in the parable, not the older brother, does.

The parable of'The Pharisee and the tax collector'rerninds us of the dangers of pride and the virtue of humility. It makes clear that, paradoxically, those who consider themselves blameless paragons of virtue are the most in need of reform. Again, not , only Christians, but anyone who believes in the importance of trying to be good can learn from this story.

Unit 2 ORAL DISCOURSE: ADDRESSING AUDIENCES 15 m

j us that we i une: ~f other<

- -

Similarly, we all tend to make excuses fur not helping the needy. 'The good Samaritan'reminds us of the simple truth that we should offer immediate practical

creed. Parables such as 'The workers in the vineyard'reminc llso'rieed to .

F help to anyone who has suffered a misfortune, regardless of their race. colour or i, be careful about how we react to other people's good fort ; are luckier

, ... than us, we should not feel hard done by. . . . , F h .:

And parables such as 'The rich man' and 'Lazams and the rlcn rooi reinforce the ,< message that i f we want to behave well, the place to do so is here and the time to do so is now. Again, even non-Christians find these stories pithy summaries of key values.

Clearly, then, the parables are of great relevance, even to atheists: But others which $ deal with issues of faith and belief are especially relevanttoChristians.'Thelost sheep' . reminds us that even when we have strayed, God still loves us and will try to bring us - back to the fold.'The farmer and his seed'rather more severely makes clear, though, that God cannot help us if we do not co-operate: we must make ourselves, receptive j; to His word. And the story of the two men who built their houses on rock and sand ! respectively reminds us thatThe Word'is the only foundation for a good life.

In short, the parablesare extremely relevant today.It is no bad thing at theend ofeach l '?

day to think about what we have done and said that day in the light of Jesus'parables. W Have we, for example, shown the forbearance of the father in 'The prodigal son'? And :j the charity of the good Samaritan? If we do this, we are making ourselves receptive to Jesus'teaching in the way that'The farmer and his seed'reminds us we should.

2W2 'The standard of public speaking in this country among, for example, politicians is very high.'Do you agree or disagree? Write an essay stating your opinion and giving your reasons (300-400 words).

WRITING TIP: 1 - In discursive essays like this, a conclusion that is 'for'should I I be preceded by a paragraph that is'for'; a conclusion that is 'against'should be preceded by a paragraph that is'against: 1

2L1 a Look quickly at the three newspaper articles on pages 17-19.They are all about the same event. What is it?

m 1 6 Unit 2 ORAL DISCOURSE: ADDRESSING AUDIENCES

- p. - - . . - -. . . . .

b Anthony Kirk is mentioned in all three articles. Spend a couple of minutes reading through them and answer these questions:

1 Which article seems to be in favour of Kirk? 2 Which seems to be agalnst him? b 3 Which seems to be neitherfor nor against him?

c Now read the articles more carefully, and answer these questions:

1 Where did the dinner take place? 2 How often does it take place? 3 What happened before the dinner? I! 4 Who gave a speech? When? Why? 1: 5 What happened after the speech? 6 6 How old is Anthony Kirk according to Article 1 ? !i 7 How old is he according to the other articles? t:

, .

d Read the three articles very carefully and answer these questions:

1 How many people were at the dinner according to Article l ? 2 What about Articles 2 and 3? C 3 How many husbands has lsabel Sastre had? 4 What is the name of her present husband? S Where and how did Albert Tancred break his arm? 6 Can you find any more inconsistencies and contradictions between j the articles? l

e All the articles contain information about Kirk's speech. Look at Article 1 and write out the exact words he said. For example: Anthony Kirk told them that the film business had never been better than now. 'The film business has never been bener than now:

Do the same with Articles 2 and 3

f Listen to the CD and write down what Kirk said (TRACK 2). Compare your version with the audioscript found in the Appendix. Which article gives the fairest account of his speech? Di) 94-95 g What reasons did Kirk give in support of his point of view? What follow-up questions would you ask Kirk? If you were Kirk how would you answer them?

Unit2 ORAL DISC0URSE:P

3 b ' 1 3 3 b > b

b b 1 1 \ b b b b \ \ b

b \ B 1 B \ h b 1 1 b b 1 b b b

IDDRESSINGAUDIENCES 17 !

f 'We're better than ever,' Kirk tells Hollywood f Dozens of Hollywood stars roared their approval last night asveteran film star turned f director. Anthony Kirk, told them that the film business had never been bener than

it is now. 4 Kirk, 57, President of the Hollywood Film Society, told guests at the Society's annual f gala dinner that today's actors and directors were better than ever, and his reminder f that last year's box office takings had set a new record was greeted with loud cheers. There was further applause when Kirk predicted that next year's takings would be f even higher.

Earlier, guests had anended a cockrail par;y in the Hall of Fame foiiowed by ihe traditional open-air banquet in the Society's extensive gardens. Guests included lsabel Sastre, escorted by her seventh husband, Rupert Murbank, and veteran comedy actor, AlbertTancred, smiling and happy despite his broken arm (the result of a skiing accident in Switzerland).

Article 2 0 The Hollywood Film Society's gala dinner was held last night at the Carnegie Hall in Beverly Hills. Over 100 of Hollywood's rich and famous anended the annual dinner, which is rapidly becoming a regular feature of the film world's calendar. Among the well-known faces present were: Peruvian actress, lsabel Sastre, accompanied by her sixth husband, American banking magnate, Rupert Murbanker; actor Alberr Tancred, laughing and joking about his arm (still in plaster after his skiing accident in the AustrianTyrol); Australian actress, Diana Rossi, chaperoned by British pop star,

t .. -- . . 7 .. . - ._ .-I f m 18 Unil2 ORAL DISC0URSE:ADDRESSING AUDIENCES

Roland Nabarro; and, dispelling rumours of imminent divorce, British heiress, Lady Florence Knights, smiling and happy with her husband. SirThomas Bletchley. After the cocktail party in the Society's gardens, guests filed into the Hall of Fame for a sumptuous seven-course banquet, inc!uding fresh quail, lobster and venison vol- nu-venrs. Later, the 5ocie:y's President, Anthony Kirk, 59, told guests that standards in the film industry had never been higher. He reminded guests that more people than ever had paid to visit cinemas last year and predicted that next year would see a further increase. The now traditional after-dinner dance continued into the small hours.

Article 3 0 ., _ - -. i- _

. /- - - ..-.. .- .-.

_Cr.. .C'

President slams film business Hundreds of Hollywood's rich and famous were left speechless last night when film Socierj President. Anthony Kirk. 59, launched a savage attackon the movie business. Neither the scriptwriters, the actors, nor the directors were as good today as they used to be, he told the astonished film stars. Guests were further incensed when he claimed that there were too many new films, and roars of protest greeted his boast that people had stopped going to the cinema because they preferred watching Kirk's old movies at home on te1evision.A lot of people took offence,'confirmed one Oscar-nominated actor, who asked not to be named. The speech came after the Society's annual dinner, attended by the cream of Hollywood's high society. Among the first to arrive were Peruvian heiress and actress, lsabel Sastre, wearing a full-length pale yellow evening dress and a diamond tiara, and accompanied by her latest husband. Rupert Murbank'Sixth time lucky,'she told our reporter. Present, too, were British star Simon Selino and, hot foot from filming and only just in time for dinner, comedy star Alberr Tancred, his arm still in plaster after an accident at his Austrianhome. Later, guests enjoyed a lavish six-course banquet (including caviar, roast duckling and steak oupoivre) before veteran Kirk's sour grapes left a bad taste in everybody's mouth.

C' SPEAKING 251 a Prepare a speech on any political issue you feel srrongly about.

b Present your speech to your partner and ask for feedback.Then listen to your partner's speech. Do you find it convincing? Ask follow-up questions.

Unil 2 ORAL DISCOURSE: AD1

FORMIDABLE PEOPLE serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square. What is your income?

CAN Dos: write a review of a film or play; write clear, detailed descriptions of a fictional character; outline the relationship between ideas in a clear connected text; follow the established conventions for the genreof a film/play review

LANGUAGEICULTURAL POINTS: third conditional; the subjunctive; analysis of the linguistic and cultural features in British reviews of plays

# READING 3R1 Read the extract from The lmporrance of Being Earnest and write a clear detailed

description of what happens (90 words maximum). Then compare your summary with a) your partner's, and b) the summary found in the Appendix. 95

Lady BnckneU: [sitting down] You can take a seat, bIr worthing. [Looks in her pocket Jor notebook nndpenciL] . Jack: n a n k you. Lady BrackneU, I prefer standing. Lady Bmcknell: [pencil and notebook in hand I feel bound to tell you that you are not down on my list ofeligible young men. dthough I have the same list as the dear Duchess of Bolton has. We work together, in fact. However. I am quite ready to enter your name, should your answers be what a really affectionate mother requires. Do you smoke? Jack: Well, yes, I must admit I smoke. Lady Bracknell: I am glad to hear it. A man should always have an occupation of some kind. There are h r too many idle men in London as it is. How old are you? Jack Twenty-nine Lady BnckneU: A very good age to be married at. I have always been of the opinion that a man who desires to get married should know either everything or nothing Which do you know? lack [i~Jtcr some hesitation] I know nothing. Lady Br~cknell. Lady Bracknell: [ am pleased to hear it. 1 do not approve of anything that tampers with natural ignorance. Ignorallcr is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England. at any rate, education produces no effect whatsoever. If it did, it would prow a

Jack: Between seven and eight thousand a year. Lady Bracknell: [makes a note in her book] In land, or in investments? Jadc In investments, chiefly. Lady BrackneU: That is satisfactory. What between the duties expected of one during one's lifetime, and the duties exacted from one after one's death, land has ceased to be either a profit or a pleasure. It gives one position, and prevents one from keeping it up. That's all that can be said about land. Jack: I have a country house with some land, of course, attached to it, about fifteen hundred acres, 1 believe; but I don't depend on that for my real income. In fact, as far as I can make out, the poachers are the only people who make anything out of it. Lady Bracknell: A country house! How many bedrooms? Well, that point can be cleared up aftewards. You have a town house. I hope? A gid with a;imple, unspoiled nature, like Gwendolm, could hardly be expected to reside in the country. Jack: Well, I own a house in Belgrave Square, but it is let by the year to Lady Bloxham. Of course. I can get it back whenever I like. at SLY months' notice. Lady BrackneU: Lady Bloxham? I don't know her. Jack: Oh, she goes about very little. She is a lady considerably advanced in years. Lady Bncknell: Ah, nowadays that is no guarantee of respectability ofchancter. What number in Belgrave Square? Jack: One hundred and forty-nine. Lady Bracknell: Ishaking her head] The unfashionable side. I thought there was something. However, that could easily be olteied. Jack: Do you mean the fashion, or the side? Lady Bracknell: [sternly] Both, if necessary, I presume. What are your politics? Jack: Well. I am afraid I really have none. I am a Liberal Unionist. Lady Bncknell: Oh, thev count as Tories. They dine with us. Or come in the evening, at any rate. Now to minor matters. .&re your parents living? Jack: I have lost both my parents.

Unit 3 FORMlDABLEPEoPLE 21 IS

Lady Rracknrll: To lose one Farent, blr Worthing, mav be regarded X misfortune; to lose both l ooh like iarslessness. Who was your father? He was evidently a man of some wealth. \%.as he born in what the radical papers call the purple of commerce, or did he rise iron1 the ranks OF the aristocracy? Jack: I am airaid I reallv don't how . ?he fact is, Lady Bracknell, I said I had lost my parmrs. It would be nearer the truth to say that mv parents seem to have lost me ... I don't actually h o w who I am by birth. I was ... well, I was found. Lady Rracknell: Found! Jack: The late 1,fr Thomas Cardew, an old gentleman of a very charitable and kindly disposition, found me, and gave me the name of Worthing, because he happened to have a 5rst class ticket for Worthing m his pocket at the time. Worthing is a place in Sussex. It is a seaside resort. Lady Bracknrll: Where did the charitable gentleman who had a first class ticket for this seaside resort find you? Jack In a handbag. Lady BrackneU: A handbag? Jack: [very seriously] Yes. Lady Bracknell. I was in a handbag - a somewhat large, black leather handbag, with handles to it - an ordinary handbag in fact. Lady Bracknell: In what locality did this blr lames. or Thomas, Cardew come across this ordinary handbag? Jack In the cloakroom of Victoria Station. It was given to him in mistake for his own. Lady Bracknell: The cloakroom at Victoria Station? lack Yes. The Brighton line. Lady Brachell: The line is immaterial. blr Worjhing, I confess I feel somewhat bewildered by what you klve just told me. To be born, or at any rate bred, in a handbag, whether it had handles or not, seems to me to display a contenlpt for the ordinary decencies of family life that reminds one of the worst excesses of the French Revolution. And I presume you know what that unfortunate movement led to? As for the particular locality in which the handbag was found, a cloakroom at a railway station might serve to conceal a social indiscretion - has probably, indeed, been used for that purpose before now - but it could hardlv be regarded as an assured basis for a recognised position in good society. Jack: May I ask you then what you would advise me to do? 1 need hardly say I would do anything in the world to ensure Gwendolen's happiness. Lady Bracknell: I would strongly advise you. bfr Worthing, to try and acquire some relations as soon as pospble, and to make a definite effort to produce at any rate one parent, of either sex, before the season is quite over. Jack: Well, 1 don't see how I could possibly manage to do that. I can produce the handbag at any moment. It is in my dressing room at home. I really think that should satisfy you. Lady Bracknell. Lady Brachell: Me, sir! What has it to do with me? You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter - a girl brought up with the utmost care - to mury into a cloakroonl, and form an alliance with a parcel. Good morning, h[r \\'orthing!

[Ludy Bruckrlell sweeps out in majestic indignation.]

Oscar Wilde, 7he Imporrancc ujBeing Eurncst

3R2 Read the film review below.

The Importance of Being Earnest (U Cert, 98 minutes) Sparkling, witty, debonair and flippant ... The Importonce ... is a beautifully- flighted comedy of manners with some of the most famous one-liners in the English language and a dark take on the false values of polite society:'A trivial comedy for serious people:as~Nilde's subtitle reminds us ... . And certainly Anna Massey is delightfully dotry as Miss Prism, and Judi Dench (Lady Bracknell) as inquisitorial as you'd expect from a future Head of Ml6, but perhaps director Oliver Parker overlooks the imponance of being casual ... .With a hot-air balloon, a visit to a tattoo parlour, and Algy (Rupen Everett) indulging in a self- satisfied intake of breath after every 'mot: this version is insufferably self-regarding: more earnest than Earnest. Recommendation: watch Anrhony Asquith's definitive 1952 version instead ...

LANGUAGEICULTURAL POINT: This review displays a number of the characteristic features of British film and play reviews. While not attempting plot summaries. such reviews aim to give the flavour of the experience. reminding well-informed readers of what they already know in a style both pithy and winy (note the puns and the humorous reference to Dench's role in the James Bond films). Indeed, the well-written review is something of a minor art form in its own right. (One memorably damning review of the Scooby-Doofilm concluded with the injuncrion:'Scooby Don't!')

I I Opt~onal: Study more film and play reviews on the lnternet and then try your hand at writing your own.

3W1 Lady Bracknell, as the extract on pages 20-22 shows, was a formidable lady. Another woman with a sim~lar reputation is Britain's first (and a t the time of writing, only) female Prime Minister. Read this description of the character and achievements of MrsThatcher, write your own evaluation ofit and then compare itwith thecomments and evaluation found in the Appendix. @ 95

In May 1979, Margaret Thatcher became the first woman t o be Prime Minister of Britain. She remained Prime Minisrer until November 1990: no Prime Minister in the '

previous 200 years had held power continuously for so long. Mrs Thatcher professed strong simple views, saying thar she had 'no time

Unit 3 FORMIDABLE PEOPLE 23

for argumenrs: She had an enormous impact on Britain: privatising telephone, electricity. gas and water services, and encouraging ordinary individuals to buy shares. Between 1979 and 1992. the share-owning percentage of the population rose from 7 to 24%.

She decided to destroy socialism, which she said was the root of all Britain's problems, and attacked traditional Labour bastions - the Trade Unions, the local p authorities, and, as already mentioned, the nationalised industries. . - 8. i'

MrsThatcher liked to think of herself as a good housekeeper and did her utmost . .~ .

to limit government spending. I t proved very difficult, however, to reduce the size E- L, f. and influence of the Civil Service - and some people claimed that her real aim was ,,

to neutralise an organisation which she felt was obstructive. She reduced the power p t-

of local councils, however, by enabling the occupants of council houses to buy the E properties they lived in. 1:

At thesame time. MrsThatcher introduced stricter legislation on national security and a national curriculum for all state schools. For many, these measures smacked alarmingly of authoritarianism.

Her foreign policy - usually pro-America and often anti-Europe - was e&ally controversial. She fought and won a war against Argentina. 'Once more Britain is confident strong, trusted ... :she declared. However, it is also true that the legacy of the empire was making ic harder for Britain to concentrate on its real, non-imperial future. By the end of the Thatcher years, Britain still seemed unsure about what its true priorities were.This paralysing dilemma may have made Britain slower to invest 'I in the new democracies in Eastern Europe. L

Her dogmatism, elitism and authoritarian manner often made her unpopular - g especially when she began to talkof'we'instead of'l: and seemed to be dressing like 1 the Queen. Others, however, liked her strong personality and convictions:'She's the $. best man in England,'said US President Ronald Reagan. $

3W2 Choose a famous fictional person who you have seen in a play or film or read about and describe hislher character and achievements as if they were a real person (300- 400 words].

WRITINGTIP: . When describing character and achievements, pay particular

attention to how the person's actions determine the plot - t that is, how they drive the story forward.

3L1 Listen to the extract from a lecture about The Simpsons, the popular American TV cartoon comedy show (TRACK 3). Write notes for someone who missed the lecture. Your notes should be as helpful and informative as possible. @ 95-96

g SPEAKING . . -. . -. .. -

351 Prepare to interview and be interviewed about a film or play you saw recently.Think about the questions below and add some of your own. Be ready to give extended and informative answers.Then interview your partner.

1 What was the filmlplay called? 2 When and where did you see it? 3 Why did you decide to go and see it? 4 What kind of a filmlplay was it? 5 Can you remember the names of any of the actors? 6 Why did you go and see it? 7 What kind of a filmlplay was it (comedy, thriller, horror, science fiction, historical

romance, factual, etc.)? 8 Can you briefly summarise the plot? 9 Did you enjoy the filmlplay? Why (not)? 10 What was the best thing about the filmlplay? And the worst? 1 l Which of the actors did you like best? Why? 12 What about the soundtrack and thevisual impact? Were they good? 13 Who did you go with? Did they enjoy it? 14 Who would you recommend the filmlplay to? Why? IS Who wouldn't you recommend it to? Why? 16 Would you like to go and see it again?

l ' Unit3 FORMIDABLE PEOPLE 25

l )

- - - A

TALKING AND WRITING ACADEMICALLY f

CAN Dos: follow the essentials of lectures, talks, reports or:other forms of an academic/professionaI presentation; participate actively in'the question and answer session of a talk

LANGUAGE~CULTURAL POINTS: turn-taking in a conference discussion; adjacency pairs: questionlanswer, greetinglgreeting; analysis of a typical discussion session at a conference

6& READING 4R1 Over the last 20 years or so, there has been a marked increase in the frequency with

which linguists are called as expert witnesses in court cases. Indeed. there are now opportunities for full-time careers in forensic linguistics. One well-known forensic linguist is Malcolm Coulthard.The exrract below is from a piece of academic writing , _ which reports one of Coulthard's investigations. Read the extract and summarise the main findings (75 words maximum).Then compare your summary with a) your partner's, and b) the summary found in the Appendix. 0-C) %

In one case, Coulthard was asked to study a statement made to the police by 19-year-old Derek Bentley. In his statement, Bentley confessed to the murder of :, a policeman. During his trial, the police officers to whom he made the statement insisted that it was an exact record of what Bentley had actually said.The teenager, however, declared that the policemen had'helped'him with his statement. Bentley,

'

who i s said to have had a mental age of only 11, was found guilty of murder and hanged in 1953. Decades later, Coulthard was asked to help in the anempt to win a [ posthumous pardan. Coulthard stccied &r,rl?y's s:stement of 582 words and found that the word rhen occurred ten times.7l1is may sound unsurprising: Bentley was narrating a break-in at a warehouse, and in accounts of events the word then often helps to establish chronological sequence. Nevertheless, when Coulthard made a small corpus of other witness statements he found that rhen occurred only once in 930 words. When. however, he made a corpus of 2,270 words of statements made by policemen, he found that the word rhen occurred 29 times. 50, with regard to the frequency of the

. . . - .. _ ,.. . -__-.-*

word rhen, Bentley's statement begins to look more like a police account than that 1 of an ordinary member of the public r Coulthard was struck not only by how often the word then occurred in Bentley's statement, but also by the way in which it was used. Here is an example: The policeman and I then went round a corner. .. This is, ofcourse, perfectly correct English, bu: it would sound less marked like this: Then rhe policeman and I went round a corner.. . Coulthard looked at a corpus of approximately 1.5 million words of spoken English, and found

I that the combination I then occurred only nine times: once in every 165.000 words. j: In Bentley's statement, however, it occurs once in every 190 words, and in the corpus ' i'' of sraternents made by policemen it occurs once every 119 words. In short, the ;- sequence I then is very unusual in ordinary speech, but apparently very common in ' 'police speak'. I . Furthermore, when Coulthard looked ar the record of oral evidence given at the trial, he found that police officers used then between the subject of the verb and the verb itself in this way, but that in Bentley's oral evidence the word then is found back in its more normal position before the subject of the verb: ... and then we came back up. I (Note: In 1998, rhe Court of Appeal quashed Benrley's conviction on the grounds that the original r' trial judge was b~ased against the defendant and had rnisdirecred rhe jury.)

g WRITING . . . . 4W1 You havejust seen one example of academic writing, a report of research.The sample

essay below is entitled'Academic Writing: My Views and Experience: Read the essay and write ;our own evaluarion.Then compare your evaluation with a) your partner's. and b) the evaluation found in the Appendix. 96-97

Academic Writing: My Views and Experience j In academic writing, clarity is of the essence. You have to decide what you want : to say, in what order and how. Above all, you have to be moved by the need to : communicate something important and the desire to do it well.

Experience is crucial: we learn to write by writing. We have to search for the mot jusre, the most felicitous expression, the most telling phrase. .. we have to summarise +. other people's ideas, add our own and observe the conventions of academic writing. We must avoid repetition, tautology, solecisms and the hackneyed phrases. We learn

g 26 Unit 4 TALKING AND WRITING ACADEMICALLY d

GATHERING INFORMATION FOR ESSAYS 1 1 by studying masters of thegenre: how do those who write well do it?Thereis no end to what we can learn by careful study of masters of the craft, such as Bertrand Russell and Miguel de Unamuno.

As Dr Johnson rightly observed,'What is written without effort is generally read without pleasure: And I believe it was Rousseau who concluded a letterto a friend with the comment that i t would have been shorter if he had had more time to write it.A pleasing and poignant paradox and a timely reminder perhaps that having said all I want to say, it is time to conclude.

v-

4W2 Write an essay 'Lectures and Talks: My Views and Experience'(300-400 words). CAN Dos: synthesise information and arguments from a number of sources; write an essay or report which develops an argument; give reasons in support of or against a particular point of view; explain the advantages and disadvantages ofvarious options

WRITING TIP: T When stating your own opinions and experience, make it clear which is which. Try to stare an opinion and support it by citing experience. I LANGUAGE/CULTURAL POINTS: presenWfuture modals of possibility; words of Latin origin; characteristics of a literary essay by an English/American writer # READING

{ l 4 SRI Read the essay below and then decide which details in each paragraph are pro- British, which are critical of Britain and whether the paragraph as a whole is in favour

3 , , or against. Then compare your summary with a1 your partner's, and b) the answers $; found in the Appendix. @ 99

4))) LISTENING 4L1 Another kind of academic discourse is the lecture or professional presentation

followed by a question-and-answer session. Listen to a lecture on the medical and mental benefits of sleep (TRACK4). Then write lecture notes which detail the main information. C+ 97-98

t l

1'1 Britain 4 U Compare your notes with those glven in the answer section found in the Appendix

W 98 Fly into Heathrow, Gatwick. Luton. Manchester ... and once you're belowcloud level, you'll see a patchwork of green fields, houses dotted everywhere, roads travelling in all directions. and the beginnings of a vast urban sprawl. England is fertile, lush, and one of the most densely populated countries in the world. LANGUAGEICULTURAL POlNC

Study the audioscript and listen to the lecture again. Notice how the lecturer and the audience member manage their interaction: the greeting routine, the way in which the question is rephrased by the lecturer to gain and give time, and the way in which thequestionersignals satisfacrion with theanswer given. Likemost language events, thequestion-and-answer sessions at lectures oken have their own distinctive features.

Overpopulation is a determining factor in everyday life.The British, more or less of necessity, are good at queuing and they're safe drivers (only about half as many people die in road accidents each year as in, say. Spain). Pedestrian crossings, lollipop ladies, public toilets, litter bins, notices and car parks abound, and double parking is conspicuous by its absence.7 have a feeling that [Britain] is uninhabitable and therefore people have tried to make it habitable by being reasonable with each other,'observed Ralf Dahrendorf, sociologist. But despite all the care, foresight and artempts to foster civicvirtues, having to accommodate so many people in such a small area inevitably brings problems. It's not only the sheer ugliness of so many motorways. flyovers, car parks, shopping precincts and housing estates, but also theanti-social behaviour which, it sometimes seems, is never far away. While it's the football hooliganism and race riots which make the headlines, the bullying endemic in many British schools is probably even more serious in the long run. Wearing

451 Prepare a short academic talk related to your studies. Make notes of the points you are going to cover in your talk. Practise your talk. Present your talk to your partner. Listen to your partner's talk and ask follow-up questions.

l \ Unit5 GATHERINGINFORMATION FOR ESSAYS 29 1 I B l l

1 m 28 Unit 4 TALKING AN0 WRITING ACADEMICALLY

languages - and makes i t a powerful means of expression. It helps, too, of course, thar English is the language of other prosperous democracies - including the world's only superpower - as well as being a second or official language in another 50 or so countries and a lingua franca more or less anywhere in the world.

Complacency about the prevalence of English may have contributed to a distinctly Anglo-centric world view. Foreign diplomats in London complain thar newspapers have only the vaguest idea where their country is and frequently ignore the visits of their Presiden: or Prime Minister. Certainly the newspapers and TV news bulletins often give the impression that domestic trivia are more important than foreign news. Yet, paradoxically perhaps, the British also seem prone to wanderlust: the Empire's long gone but, expatriate Brits are still found the world over, sometimes in 'little Englands; but often well integrated with local communities. Many leave in search of something they couldn't find at home. Sometimes they claim it's just better wearher ('somewhere where it doesn't rain every day'), but often one suspects it's something more. The British sometimes seem to feel guilty about enjoying themselves - 'naughty but nice: says one advertisement for cream cakes - and may feel more able to do so when away from home. Similarly, the national obsession with pet animals (which extends to cemeteries for dearly departed dogs, a chain of MrsTiggywinkle hospitals for injured hedgehogs, and sanctuaries for ageing donkeys) springs perhaps from problems making friends and relating to the opposite sex.'Europeans talk to their friends,'remarked George Mikes, author'rhe British talk to their animals: He also said.'Continental people have sex lives - the British have hot water bottles: That may be why so many are keen to travel.

unfashionable clothes, using 'posh' words, needing glasses, being fat or, indeed, 'different'in any way can easily attract the attention of potential bullies.

Yet, despite its'yob culture: Britain continues to produce talented people. A recent study by the Japanese Ministry of Commerce estimates that an asronishing 5496 of the most important inventions in the last l00 years are British. It was England that invented parliamentary democracy and the Industrial Revolution. and crucial contributions to medicine, science, literature and human rights are reflected in the huge number of British Nobel Prize winners. The Bearles, Monry Python and H a w Potter, all characteristically British products, are three peaks from a mountain of talent. British writing, popular musicand television earn vast sums all over the world: rhe first Harry Porter book, for example, is said to have sold over three million copies in China within four months of publication. And the interest generated in Britain and its culture by these exports naturally fosters tourism, which, in turn, leads to more interest in'buying Britis h'... .

In conclusion, then, the impression is of a mildly repressed, often unhappy people i; whocan laugh atthemselves. but don't really likeeach other and who, in theirsearch i. for alternatives, compromises and ways of escape, have in some ways done more r. than anyone else to determine the way we live now.

5R2 You may wish to read the essay again; it's worth it! Notice how theauthor synthesises information and arguments from a number of sources: Ralf Dahrendorf, the Japanese Ministry of Commerce, newspaper reports, advertisements, George Mikes, as well, of course, as his own observations. Notice, too, how the essay develops the argument, giving reasons both in support of and against a particular point of view. The final paragraph IS an excellent summary of the essay as a whole.

One key factor in this cultural success story is the Brirlsh sense of humour. The willingness to create humour surfaces everywhere.'Sales assistant required: if you are interested in being overworked and underpaid in near-Victorian conditions, apply within.'This handwritten sign in a shop window may not be hilariously funny, but it is entirely characteristic of 'the British way: Closer scrutiny suggests that this sense of humour is much more important than a mere disposition to crack jokes. It seems to be pan of a larger self-awareness, an ability to stand backand lookcritically from the outside, which goes hand in hand with creativity and artistic achievement. and which is the enemy of pomposity, self-righteousness and intolerance (whoever heard of a terrorist with a sense of humour?). Self-criticism, fair-mindedness and a willingness to compromise suggest that the democratic tradition in Britain amounts to a great deal more than elections every five years, and whichever political pany is in power can expect searching criticism and sometimes biting satire, not just from its political opponents and sections of the press, but on prime time television, too.

Anotherfactor working in Britain'sfavour seems to be the English language. Basically Anglo-Saxon, it nevertheless contains over twenty thousand words of Latin origin. which gives it an enormous vocabulary - far bigger than many other European

5W1 The essay about Brira~n is very much an essay about reactions to a place: the autbcr describes what he sees around hlm. It was originally published in a book called Observanons (by Jlm Lawley) and is essentially based on the author's 3oserva:ions; his bas~c source is what he has seen. Another basic source marer~al is the wrlnen word. Read the rwo poems below and the literary essay about them.The poems, like the essay abour Britain, show sensitivity to the physical envlronmenr. The essay shows how literary essays are characteristically based on the written word.

f "3 30 Unlt S GATHERING INFORMATION FOR ESSAYS Unit 5 GATHERING INFORMATION FOR ESSAYS ?

Spring in war-time

Now the sprinkled blackhorn snow Lies along the lovers' lane Where last year we used to go- \fiere we shaU not go again.

In the hedge the buds are new, By our wood the violets peer- Just like last year's violets. too. But they have no scent this yew.

Every bird has heart to sing Of its nest, warmed by its breast; We had heart to sing last spring, But we never built our nesr

Presently red roses blown Wi make all the garden gay . . . Not yet have the daisies grown On your clay.

Edith Nesbit

Reported Missing

My thought shall never be that you are deid: Who laughed so lately in this quiet place. The dear and deep-eyed humour of that face Held something ever living, in DeatHs stead. Scornful I hear the flat things they have said And all their piteous platitudes of pain. I laugh! I laugh! - For you will come agaa - This heart would never beat if you were dead. The world's adrowse in twilight hushfdness. The

re

's purple Lilac in your little room, And somewhere out beyond the evening gloom Small boys are culling summer watercress. Of these familiar things I have no dread Being so very sure you are not dead.

Anna Gordon Keown

5W2 Now read this literary essay about the poems and then write your own evaluation. Then compare your evaluation with a) your partner's, and b) the evaluation found in the Appendix. 100

With reference to 'Reported Missing' and 'Spring in wartime', explore the differing ways in which war has impact on soldiers' families and friends.

61 'Spruig m war-ttme', altho~igh a Its excernslappeYrance the world not cm$?& the p t ' s atr.ltude to Life and the world hss changed t o w because of her lover's ~!!th. Last y ~ x , the Dowers and birds m m & the joy end h o g and prormse or' the iutw?, whch the lovers felt in each other's mmp%Iy. Noiv t b natural beauty is merely s bitr,er remder ~i t h t happy time. When the p t 'writes that the violew SIX just like 'last yes's vlobcs', tlVs is llteraUjr true; the Bowers are the m e everysprw. However, when she wi-ltes that thls y w 'they have no scent' thls is c1ed.y not Uterdy true; 111 a purely Uted serse, the violew aL?o smell r,he same ss last ypm. Yet the line is true a a non-literal sense - the writer csnnot take pleesure in thelr smell as she did b t year, so for her, m eifmt, they hYve no sent . Eqilally, the bird song Is the same rhls spruig m M,, but wherevs h t F ? the wr!ter md her Lowr were plaMlQ? to make ther own 'nest' anci felt like s w m g .Mth joy, ths year !.he birds remad her of w h t now &m never be. There is a suegestion that hencefort!! er:ery Spr'hlg VIIU bbPllig I ~ I B oruel mrmnder. The poem ends :nth clear msgnItion of bhls sad M W . Her love Ues in a fresh grave on which the flowers have not yet kiui time to RGW. But grow they

wi l l m tlme, and she wlll be reminded that It Is her lover's which Is 'pushmg up the W ~ e s '

The mptance of the traglc W t y of the desth cf a loved one is precisely what Is absent fmm 'Reported Wlng'. In the last line, the p x t she Is 'so very sure' her lover 'Is not dead'. The emp'nasis when we spesk thls last h e of the p m falls naturally on the word 'very', d r e w our attention to It. m, readers wy ask, does she ssgr that she if 'so very sure' when the word 'sure' on its own conveys the same m m i The phrase 'so very sure' is a tautology. Ham? hed the& atcention dram do t b protestation of cercatncy, resders -wonder what evfdem there Is for Lt. The poem offers the suggestion that since the soldler was alive and hug@ 'so lately' (a recently), he now be dead; thet hk 'deepeyed humour' would be lmpaible to exttnguish; that since her own heart is still h t u , so must b be; and that since her eierydqv Me g m on, so must hls. Considered obJectlvely, of m u m , ail tNs Is ilo r e m e at ail; the thoughts are fathered by desire not reailt:f.

In fact, there if evidence that, deep down, the poet herself Is not as mnmced ss she woilld like to be. The alliteration In 'pimeous platitudes of -' conveys the rather e.cessive wrn vilth whch she splts out her refusal to accept the offered words of sympathy. There 1s somethirg despersle in the repetition of 'I laugh! I laughl' and there s an omtnous note both ln 'evenmg gloom' (suqgestLng the deeth of the m) and In the unusual choice of verb in 'small boys u&g the watercress'.

These two poems, then, present very dff~?rent way^ In whch the war Lmpacw on soldiers' n m t and dearest In S p r w ln W-tune', we see how acczptance of the death of 3 lovd one brings a deep abidmg sadness, whlch is reinforced by all the s m of natural life surmundlng the pcet The p a s s of grlevmg is well und~mqy h 'Reported Mlss~ng', the natural e v e F M world IS pressed rather desperately mto s e n m as proof t h everychug Is stlu Just as it a l w r~ The poem is m poignant becsuse the reader knows that the poet Is trying to supprem the pxsiblllty of the loved one's death wth such energy because thet grlef of the reality wouldbe so terrible Eecause of this supprt.sslon, tne pmful grlef Is yet to be faced

LANGUAGEICULTURAL POINT: Essays about literature by British and American writers tend to be based on a close reading of the text. Essays in general are usually written in a 'learnt' register, in which there may be more words of Latin origin than in normal everyday speech. How many cognates can you find in the first paragraph of the two essays you have studied in this unit?

5W3 Write an essay about your country along the same lines as the essay about Britain at the beginning of the unit (300-400 words).

m 32 Unit5 GATHERING INFORMATION FOR ESSAYS

WRITING TIP. . In essays like this, incude information and arguments from a

varlety of sources, if possible, rather than relying solely on your own opinions and impressions.

f l

f /38 LiSTENlNG . . . f dr 50 far in this unit we have seen that the source material for essays can b e observation

of the world around us, or close reading of literature. Another important source f 1 material is information gained from interviews. Continuing the theme of how

l historical events impact on ~eople ' s lives, listen to the interview with a Spanish woman (who is also a highly proficient English speaker) about her memories of the ' death of Franco (20r"November, 1975) when she was 15 years old (TRACK 5).Take

f ) notes as you listen 100-1 01 I

f/L2 Based on what you've heard, write a short essay (300-400 words) suggesting how this material might b e useful to a historian. Compare your work with the essay found

1 in the Appendix. 0-D 101 -102 f l f . l f SPEAKING f '

$ ~ 1 Prepare to be interviewed about an important historical event that you lived through.

1 lhagine you're going to be interviewed in a similar way t o the Spanish woman on the CD. Decide which historical event you would like t o talk about. Make a list of C questions that you are likely to be asked and prepare your answers. Ask your partner

i which event he/she would like to talkabout and interview him/her.Then respond to ( your partner's interview questions.

f l f I

l ' l f l ' l t l t 1 f

I , I

f l 1 m 34 Unit S GATHER ING INFO RMATION FOR ESSAYS

CAN DOS: write an interesting, short story; understand in detail what a native English speaker says in a conversation carried out using standard spoken language, even in a noisy environment;tell a story remembering as many details as possible

LANGUAGEICULTURAL POINTS: present perfect simple and continuous; questions; making comparisons; adjectives with -ed and -ing endings; comparison of different accenrs in both British and American English

' ! 6 READlMC i;I !l

6R1 Read the story below and summarise it (30 words maximum). Then compare your

4 summary wlth a) your partner's, and b) the summary found in the Appendix. !l c+ 102 I 5 I

Where does it hurt? l

'So ... er ... which side of the neck hurts? The head side or the body side?' Mark called out from the back of the class aher Mr Ling had mentioned that people remain alive for up to ten seconds after decapitation. Ignoring the question, the teacher proceeded with

i': further details of the execution of Charles I. Meanwhile, Mark noticed 20 boys' necks sinking further into their collars. 'Pssst, Mark! Hey you! >lark, psssst! Have you brought your PE kit?' &lark froze. His kit! His kit ... he stayed very cold and still for a moment, and then his stomach gave a single turn, l i h an omelette when it's flipped. His kit was where he hadleh it lastnight - on the kitchen table. the 'DON'T FORGET!'note on top. 'blr Martin isn't going to be happy,' was possibly the understatement of the millennium. It was a Thursday, which rnennt cross-country running after break and 'I don't have my kit, sir'wasn't acccplable. In fact, there was nothing he could say: 'I don't believe youand

.. 8 from now on I shdl be turning a deaf ear to all your excuses: blr Martin had warned him some months before. 'Oh, and don't go blubbing to Matron: he added Last week %lark had ended up running over two miles of mud-covered hills in his uniform and

1 his mum had been furious about having to buv new trousers. hir Martin had warned l I him that he had a very special punishment lined up for him if he ever repeated his

1 mistake. Xnd that's not a threat,' he had smiled at Mark, 'that's a promise!' Lining up very

Units UNDERDOGS 35

special punishments was blr Martins raison dPtre, and ,Mark was a hvourite victim; his forgetfulness had placed him in a different league from everyone else.

During Wednesday lunchtime, he would transform From an amusing, attentive boy to a silent, scared child. During the afternoon lessons, he was useless ... a vegetable. He had started to get into trouble. too. Many times his teachers had caught him with his mind elsewhere. Getting into trouble with his teachers on Wednesdays made them less friendly towards h i on other days. Worrying about PE the next dav had kept Mark awake for hours. When he finally slept, he had had vivid dreams of being Forced to run the two miles with the whole school watching. Mr Martin had turned red and had started poking him with a trident His screams had woken his parents.

The beU rang for break Everyone pushed their chairs back and charged to the changing rooms. Alone, Mark felt like a condemned man awaiting execution. Dragging his feet, Mark walked the corridors, his mind blank. 'Hey, Mark, you'd better have an excuse ready, 'cause you're dead.' Yes, 'dead' was right. and excuses were useless. Resigned, Mark decided to get it over with u quickly as possible ...

Very conscious of his uniform, Mark made his way to the cross-country start Line which was just by the area for throwing the javelin. Sure enough. hlr Martin was there.

Mr Martin looked him up and down, raised an eyebrow, and rubbed his hands together: Rh! I've been waiting for you. What now? Been abducted by aliens? Or is it.the black plague? Where does it hurt today? Ankle? Knee? Head?' Before Mark could answer, Mr Mar& picked up a javelin and with a superior smirk retreated to the start line, stared out across the open held to make sure it was clear, said. 'Watch this!' Then he ran a dozen steps sideways, the javelin low behind him in his right hand, and with a loud grunt hurled the spear and ... collapsed to the ground, screaming, his hand clutching the side of his head. It took Mark

some few seconds to understand what he was seeing. It was the blood gushing out from between the lingers that confirmed it: the javelin had taken part of Mr Martin's ear with it. Mark's first thought was of relief: his lack of PE kit was no longer of any importance. His second was that Mr bhrtin's instruction about no blubbing to Matron had been hypocritical; 'Matron! Matron! Get Matron!' he was screaming. 2.en another happy thought occurred to Mark ... in future blr Martin [night find it a IittIcl r s i e r to turn a deaf ear. 'Good!' said Mark to himself. There w u somct'ing s!se that wasn't clear though ... Then it came to him. It was true that he still didn't knorr the mswer to his decapitation question, but in this instance one thing was certain - it was definitely the side of Mr Martin's head that was hurting.

story by Nick Lawley

6W1 The examination question asked candidates to write the story of LinleRedRiding Hood in no more than W0 words, warning them not to exceed that limit.The version on pages 37-38. however. has over 600 words. Without omitting any information itcould beshortened, and therefore improved. Work through the story carefully, deleting any unnecessary words and phrases and joining sentences where appropriate.

For example: the first paragraph could be rewritten as: Once upon a time in a big forest lived a linle girl who was called Linle Red Riding Hood because she always wore the beautiful red hooded cape made by her grandmother.

(Note: the informat~on which has been removed is not lost to the story: it will soon become apparent that Little Red Riding Hood was not an orphan and that her grandmother also lived in the forest.)

6W2 Then compare your rewritten version with that found in the Appendix. c+ 102-1 05

Little Red Riding Hood Once upon a time o lrttle gtrl wos ltvtng rn the forest w t t h her parents They coiled

her Little Red R(din9 Hood becouse she always wore 0 red hwded cape mode by her grandmother whp lcved ~n the same forest

A wol f was ltv~ng In thot forest too ond he was a very, w r y bod wol f One mornln9. L ~ f t l e Red R i d q H o d s mother told her t o go to her qrandmother's

house ta take her same food because she was 111 In bed Lt t t le Red Ridtnq Hood was very

hoppy because she l~ked to see her grondmother and she liked the walk in the forest Before she set off her mother told her. 'Remember not t o 3top In the forest. don't tolk t o

strangers and always go along the usual path towords grondmotheis house'

'Yes. yes.' sold L d e Red Riding Hood ' l know You are always telimg me thot She started out on the journey carrying o basket full of soup pms browntes and jam

011 mode by L l t t le Red R t d q Hoods mother On the way she saw some lovely flowers and she thought they would be a nice present for her granny MeonwhJe the bod wolf who llved tn the farest saw Little Red Rldrng H w d and he thought she would be a lovely meal He put on hls best smrle and w e n t t o meet her

Hello L i t t l e %?zd R!din9 Hood Where ore you gotng an this lovely mornlno)' I ' m go1n9 to see my grondmother ,who lrves In the athcr por t of the forest. sold L l t t l e

Red Rtdrng H o d

'Why ore you carrytng thot basket?' the Wolf asked

' I 'm toklng some f w d far my granny M y mother mode t t for her becouso she I S (11 in bed'

'Oh) I know where she Itves, and I can tell you that ~f you go along that p t h you11 be there quzcker becouse ~t 8s shorter Eye ' so ld the wo l f

Lr t t le Red Ridm9 Hood r h o u ~ h t for g moment about w h a t her mother had ~ o r d before

she set off on her walk. but the wo l f looked very nice cnd lf the porh was shorter ~t would

be qutcker to get to her granny's house. She took the poth that the wolf showed her However. the wol f went along the correct pnth that wen t straight to 9ronny's house

I 36 Unit6 UNDERDOGS

He went there and gobbled up the gmdmother and aft er thar he went t o bed t o w a d fw the arrrval of Lrtt!e Red Xidlng H d

When L i ~ l e Red Rldlrg Hood went into the house. the wolf c!ossc' the door and n that moment L l t t le Red Rtding Hood reolrsed all the th~ngs she had done wmnq She ran up and down. she crled and scrscrned but the bad wolf gobbled her up. tw

Thank goodness a brcve woodcutter was worqtng near the hcuse o f Lsitle Zed Rld~ng Hood's grandmother He heord the noss2. but when he wen. t o the house what he found was the wolf sleeptng wt th o bjg fot stomach lnslde hrm he heord L i t t le Red R ,d~ng Hood and her granny The w d r o i r e r qutckly rrallsed what had hopyeneed t w k his axe. cut apen the wolfs stomach and saved L l r l e Red ?id,ng iiwd and her granny lhat was the end of

f the wol f and was very close to Semg the end of L ~ t t l e Red 2 d n g Hood and her granny Af ter that when rhey hcd recovered from that bad experience they decided t o

f celebrate bemg saved usmg the basset of Ioa brought by L i t t le Red Rlding Hood They f had S pcrty gtving thcnks to rhe brave woodcurter and L i t i l e Rzd Rldlng Hood prornrsed 4 never to dfsobey her mother agan And that; the end of thrs story. f f

6W3 Write a shorn story in which an'underdog'triumphs over someone bad in a position 4 of power (300-400 words). . . f i f

WRITING TIPS: f Include a variety of adjectives and adverbs-to make your

story more interesting and exciting to read.

f - Use a mixture of narrative and direct speech topdd to the effect created by the story.

f 6L1 Listen to rhe dialogue between a father and his son, George (TRACK 6). Try to

t understand as much as possible. Then write an account of the conversation, as f complete and as informarive as possible, for someone'who has never heard it. f 6L2 Llsten again. Do you learn anything new? If so, how significant is it? f f 6L3 Read the audioscript of the converia:ion found in the Appendix. Did you miss

f anything significart? @ i.33

f t f f

38 Unn6 UNDERDOGS

4 I EXTRA LISTENIFJG 0 Test yourself with other conversations between native speakers with standard British and American accents.Try to ensure that at least some of the conversations take place in noisy environments. One good source of such conversations is DVDs with subtitles. As you listen, see if you can understand what thecharacters are saying and why they're saying it. If you have difficulties understanding, do rhey arise because they use unfamiliar vocabulary or because you didn't recognise the word in its spoken form? If the vocabulary is unfamiliar, make a note of the words thar you did not understand. Can you observe any common denominators? Are the words common or rare? Do they come from a particular lexical area or areas? If it is the pronunciation of the words which is causing you problems, make a note of which sounds are the source of the difficulty and find other words in which they occur.

! g SPEAKING . a ,

i ' 651 You are golng to tell the story of LitrleRedRiding Hood. First, listen to the story being

4 told in both American and British accents (search for Little Red Riding Hood + audio using your internet search engine). ! 652 Now rehearse your version of the story before telling your partner. Listen to your

partner's verslon of the story. DISCUSS any d~fferences. N P Y Z

7

THINGS THAT MATTER.TO US

CAN Dos: rake active part in informal discussion in familiar contexts; make comments, express points of view clearly, evaluate alternative proposals; make and respond to hypotheses

LANGUAGE/CULTURAL POINTS: the subjunctive; politeness strategies: interaction between . . teenagers and their parents

4 READING 7R1 ~ e a d the below and summarise i t (30 woids rnaximum).~hen iompare your

.summary with a) your partner's, and b) the summary found in the Appendix. o+ 106

general, the money which drove the Renaissance forward came from

n wealthy patrons who employed artists and scholars. These patrons commissioned almost all significant artistic projects, often determining not only the subject matter, but also the materials to be used, the size, where they - were to be displayed, and even, to a degree, their style and composition. Apart from the monumental masterpieces we celebrate today, patrons also paid for countless smaller-scale objects often made by little-known or anonymous artists and artisans for specific domestic or devotional purposes. These wealthy patrons included popes, cardinals, bishop's, reliGous orders, as well as town councils, guilds and confraternities, but they also included. most significantly, princes, dukes and other aristocrats.

Guido Manoni's Lamentations, completed in the 1490s. shows grieving mourners around thedead body of Christ,and one of these mourners is King Alfonso II of Naples! Vlhen he commissioned this picture not only was Alfonso seeking to ensure his spiritual salvation by being immortalised in perpetual prayer before Christ, but also, by showing himself as an active participant in the sacred drama, to enhance his political reputation; a good investment for both this world and the next. These are powerful motives. Not surprisingly, numerous other princes and nobles did the same thing, for similar reasons.Titian's 1530s portrait of the Duke of Urbino shows him as a mature man with a slightly receding hairline, a furrowed brow, and a

steady;steely gaze: a mdn, then, Of experience, wisdom, courage and determinition. a desirable image for a condottiere and titled noble. Similarly, Titian's portrait of the Duke's wife, doubtless intended to hang next to his, shows her as demure and tasteful, accompanied by a little dog, a traditional symbol of marital fidelity:again the

aim was to project the right image. Here, then, the Duke's concern was more exclusively with present and future reputation in this world than in the case of Alfonso's commissioning of ~anoA.Thefacr that there were so many princes, dukes and other nobles in I